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Fols. 54v–55r:"The layout of the Song of the Sea presents a ‘visual midrash’ – a structure made of bricks reminiscent of the slave work in Egypt and the liberation from it. Also, the text of the song written in the form of a half-brick arranged upon a whole brick and a whole brick arranged above a half-brick (Megillah 16b:11) serves as a reminder of the miracle when the sea split and the water stood like a wall on both sides, allowing the Israelites to escape the enemy. Each line consists of text and spaces, and the spaces of each line are aligned with the text of the previous line, and similarly, the text of each line is aligned with the spaces of the previous line. The layout of the Song of the Sea visually accentuates the miracle and differentiates it from the rest of the Scripture. The Jewish scribal tradition stipulates the following structure of the Song of the Sea with predefined opening words of the five preceding and following lines:a) Five lines of prose shall precede and follow the poetic layout. b) A single blank line should separate the poetic structure from prose lines. c) The poetic section should be written in thirty lines in a brick format. The layout of the Song of the Sea in the Lailashi Codex perfectly matches the BL Or. 4555 and the NRL Firk. II B 10, except for one point: true to his method, the scribe of the Lailashi Codex ends folio 55r without splitting the verse. The juxtaposition of the passage of the Song of the Seas in the Lailashi and Leningrad codices reveals the outstanding skills of the scribe of the Lailashi manuscript."(copied from Gomelauri 2023 , pp. 156- 157). 

The two facing pages are framed by interlace of circles and other geometrical forms formed by the masorah written in micrography.